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Wednesday, 17 June 2015
Card Board city- time lapse
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Tuesday, 9 June 2015
Evaluation- card board city
Cardboard city is a unit in which we would use time based media to create an entire city out of, well, cardboard boxes, we did this by working in pairs, whiloe still using our own abilities to solve problems to do with working on how the pieces are presented, we were put into pairs to create a box building where we would use our own ideas, primary research from nearby architecture and secondary research on other artists who use time based media.
This unit has had many difficulties, mostly on the technical side of things due to my phones incapability to add photos or to even connect with the blog, which even now I am struggling to work around, which is where I felt at a disadvantage compared to other students as they were all able to do it on their fancy iPhones etc amd it was extrememly frustrating not having all the pictures i needed, and then most of then wouldnt work. This unit has made me feel outdated because i really struggled with being digital even though it is a major component of the unit, i would have prefered using a sketchbook for annotation. However I've learnt New techniques over this unit, it has opened my eyes as to how work can be presented in a multitude of ways, such as using new medias such as sculpting and creating with cardboard boxes, the positioning of everything, but mostly how to present your work in the most outwordly, creative ways possible. this included using light and dark to create an atmosphere, such as when we were in the drama studio we turned out the lights and the art had a new meaning and a bigger depth. having had Jennifer guide us through this was a huge help as its what she does for a living, working with time based media, which is contemporary art mixed with the use of digital media, because without her suggestions and helping me improve i wouldnt have accomplished as much, for example she guided me through making edits to my blog.
At the start of the project i was skeptical as to what i would be able to do with the skills i already possessed as none of them included working with 3d media such as boxes, so figuring a way around working on different surfaces was difficult but i did manage to solve this by treating as a weirdly shaped canvas, and it worked. Getting primary research was actually more fun than i had anticipated, being able to go out, explore and record what i saw, specifically when taking images of the buildings near college gave me a sense of creative independenc because i could take pictures of what inspired ME and what gave me ideas, and be able to explain it to others. This helped to contribute to a concept i already had, which was modern meets classic, which came to me with our secondary research on borofsky/boltanski as they are modern/classic artists. this led me to an idea of a plain background that was square and resembled an everyday manhattanesque skyline, but had strong detail painted onto the front which helped to contrast and make you think about it, at first it was a challenge as it stuck out and made it seem wrong, but as we worked into it with different medias such as guttering from textiles, which gave it a higher 3d relief, it was more harmonious. when it came to the day of putting everyones boxes together in which it would become a city, and as we were in a classroom in which half the walls were glass panes, we took advantage and created an atmosphere with shadow/ light play in this instance. we used different coloured acetate and stencils of buildings and put them on the windows which gave the room a more lively, genuine city like vibe which was really cool. The city when put together looked incredible and it all worked together. overall this unit has taught me the most skills, took me out of my comfort zone the most, and really tested my creative ability and my technological patience.
This unit has had many difficulties, mostly on the technical side of things due to my phones incapability to add photos or to even connect with the blog, which even now I am struggling to work around, which is where I felt at a disadvantage compared to other students as they were all able to do it on their fancy iPhones etc amd it was extrememly frustrating not having all the pictures i needed, and then most of then wouldnt work. This unit has made me feel outdated because i really struggled with being digital even though it is a major component of the unit, i would have prefered using a sketchbook for annotation. However I've learnt New techniques over this unit, it has opened my eyes as to how work can be presented in a multitude of ways, such as using new medias such as sculpting and creating with cardboard boxes, the positioning of everything, but mostly how to present your work in the most outwordly, creative ways possible. this included using light and dark to create an atmosphere, such as when we were in the drama studio we turned out the lights and the art had a new meaning and a bigger depth. having had Jennifer guide us through this was a huge help as its what she does for a living, working with time based media, which is contemporary art mixed with the use of digital media, because without her suggestions and helping me improve i wouldnt have accomplished as much, for example she guided me through making edits to my blog.
At the start of the project i was skeptical as to what i would be able to do with the skills i already possessed as none of them included working with 3d media such as boxes, so figuring a way around working on different surfaces was difficult but i did manage to solve this by treating as a weirdly shaped canvas, and it worked. Getting primary research was actually more fun than i had anticipated, being able to go out, explore and record what i saw, specifically when taking images of the buildings near college gave me a sense of creative independenc because i could take pictures of what inspired ME and what gave me ideas, and be able to explain it to others. This helped to contribute to a concept i already had, which was modern meets classic, which came to me with our secondary research on borofsky/boltanski as they are modern/classic artists. this led me to an idea of a plain background that was square and resembled an everyday manhattanesque skyline, but had strong detail painted onto the front which helped to contrast and make you think about it, at first it was a challenge as it stuck out and made it seem wrong, but as we worked into it with different medias such as guttering from textiles, which gave it a higher 3d relief, it was more harmonious. when it came to the day of putting everyones boxes together in which it would become a city, and as we were in a classroom in which half the walls were glass panes, we took advantage and created an atmosphere with shadow/ light play in this instance. we used different coloured acetate and stencils of buildings and put them on the windows which gave the room a more lively, genuine city like vibe which was really cool. The city when put together looked incredible and it all worked together. overall this unit has taught me the most skills, took me out of my comfort zone the most, and really tested my creative ability and my technological patience.
Glossary- Card Board city
Glossary of terms
AVANT GARD:
Applied to art, avant-garde means art that is innovatory, introducing or exploring new forms or subject matter
CARL ANDRE BRICKS
Kinetic art:
is art that depends on motion for its effects
e.g. Alexander Calder- Antennae with Red and Blue Dots 1960
Installation art:
is used to describe mixed-media constructions or assemblages usually designed for a specific place and for a temporary period of time
e.g. Cornelia Parker Cold Dark Matter: An Exploded View 1991 & Rachel Whiteread
Figurative art
Describes any form of modern art that retains strong references to the real world and particularly to the human figure e.g. Picasso
Abstract art
is art that does not attempt to represent an accurate depiction of a visual reality but instead use shapes, colours, forms and gestural marks to achieve its effect; it could be based on a subject such as a figure, landscape or object or may have no source at all in the external world e.g. : Kandinsky
( https://mymoodle.barnsley.ac.uk/course/view.php?id=248)
Liner
-Someone who makes or draws lines, useful for mark making
Stop motion : Onion skinning
-onion skinning is a process on stop motion that allows the animator to view multiple frames at once
Meditate and synthesis an image
-I couldnt find anything on this really, but from what i can guess and the way i see it, it means to look at an image and really think about it and put it into your own words?
silhouette
Zoetrope: Reciprocal Action & Persistence of vision
-The zoetropes motion helps to create the illusion of living animation, but it is just drawings that create a fluid animation when in motion
-The zoetropes motion helps to create the illusion of living animation, but it is just drawings that create a fluid animation when in motion
Objets trouvés
-it is a phrase used to describe art created from everyday objects that have been altered in some way that dont have an art function, picasso was the first person to try this by when he pasted a printed image of chair caning onto his painting titled Still Life with Chair Caning
-it is a phrase used to describe art created from everyday objects that have been altered in some way that dont have an art function, picasso was the first person to try this by when he pasted a printed image of chair caning onto his painting titled Still Life with Chair Caning
Theater d'ombre
-in basic terms it is shadow play, using light to tell a story, and has been used consistently throughout the project.
-in basic terms it is shadow play, using light to tell a story, and has been used consistently throughout the project.
Card board city- time based media
WHAT ARE SOME EXAMPLES OF TIME-BASED MEDIA WORKS?
Typical examples of this category are video and sound artworks, film or slide-based installations, software-based art and other forms of technology-based artworks, many of which can also be regarded as installation art. The Guggenheim collection contains several hundred time-based media artworks, including works by Marina Abramovic, Matthew Barney, Bruce Nauman, Nam June Paik, Jason Rhoades, and many other important contemporary artists.
Tuesday, 2 June 2015
FMP- Artist research- Sue Coe, Gale
Sue Coe:
Sue Coe is an English artist and illustrator, working primarily in drawing and printmaking, often in the form of illustrated books and comics. She grew up close to a slaughterhouse and developed a passion to stop cruelty to animals.
Gale Hart:
Biography
A childhood fascination with creating objects out of nuts, bolts, scrap metal and
wood evolved into an intensely energetic creative drive. Gale Hart began her
career with an enduring passion to compile components into a whole. From
monumental canvases to meticulous graphite drawings, Hart's repertoire of visual
images grabs, engages and speaks volumes about universal humanity.
A narration characterized by humor, angst and sarcasm presents itself through a
constantly evolving cast of characters. Reminiscent of a candid snapshot, Hart
captures an attitude at a particular place and point in time. The specifics of a
personality are not as important as the condensed essence or vitality of expression.
Through direct frontal gaze and exaggerated facial expressions, Hart conveys the
difficulties of human interactions and the challenges of interpersonal
communication.
The paintings initiate a visceral discourse with the viewer - the viewer is intrigued
and pulled into the narrative of the subject matter. Hart implements the use of
rhythmic geometric elements as a means of visual navigation. This technique of
unification formalizes the composition and mitigates visual and emotional agitation.
Color as a void saturates the background of the paintings against which the intense
hues of the figures emanate to elicit tension. Awkward color combinations distort
and disarm the eye, yet concurrently assist in the comprehension of the work.
Hart's sculpture parallels her paintings with the visual language remaining constant:
narrative composition, ordered geometry and color choices. Validating the instincts
that launched her creative career, found objects continue to hold limitless
possibilities and appeal. Hart seamlessly marries incongruent materials creating
mirthful yet perplexing personages.
Hart approaches all of her work with an eye toward artistic sensibility and technical
expertise. Never sure what the next series will bring - Hart states: Keeping my art
fresh is equally as important as my need to make art.
Born: November 28, 1951 (age 63), Tamworth, Staffordshire
Artwork: Murder in the Gulf, Wall Street Bloodbath, more
Movies: Comic Book Confidential
Education: Chelsea College of Arts, Royal College of Art
Gale Hart:
Biography
A childhood fascination with creating objects out of nuts, bolts, scrap metal and
wood evolved into an intensely energetic creative drive. Gale Hart began her
career with an enduring passion to compile components into a whole. From
monumental canvases to meticulous graphite drawings, Hart's repertoire of visual
images grabs, engages and speaks volumes about universal humanity.
A narration characterized by humor, angst and sarcasm presents itself through a
constantly evolving cast of characters. Reminiscent of a candid snapshot, Hart
captures an attitude at a particular place and point in time. The specifics of a
personality are not as important as the condensed essence or vitality of expression.
Through direct frontal gaze and exaggerated facial expressions, Hart conveys the
difficulties of human interactions and the challenges of interpersonal
communication.
The paintings initiate a visceral discourse with the viewer - the viewer is intrigued
and pulled into the narrative of the subject matter. Hart implements the use of
rhythmic geometric elements as a means of visual navigation. This technique of
unification formalizes the composition and mitigates visual and emotional agitation.
Color as a void saturates the background of the paintings against which the intense
hues of the figures emanate to elicit tension. Awkward color combinations distort
and disarm the eye, yet concurrently assist in the comprehension of the work.
Hart's sculpture parallels her paintings with the visual language remaining constant:
narrative composition, ordered geometry and color choices. Validating the instincts
that launched her creative career, found objects continue to hold limitless
possibilities and appeal. Hart seamlessly marries incongruent materials creating
mirthful yet perplexing personages.
Hart approaches all of her work with an eye toward artistic sensibility and technical
expertise. Never sure what the next series will bring - Hart states: Keeping my art
fresh is equally as important as my need to make art.
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